American cinematographer (Sept 1935)

398 American Cinematographer • September 1935 ie pile of rocks shown in the lower left hand rner is the box of rocks above camouflaged th a bit of shrubbery. , he branch hanging in from the upper left hand corner is being held by an assistant. The Art Director In 16 mm by J. Belmar Hall, Instructor Department of Cinema', U.S.C. F rom story to the screen, the art director is closest to the involved methods of production. In 16mm, the cameraman is his own art director. Every scene is not always a good scene, but he can make it so with very little effort. This may sound hard but the seemingly uninteresting shot can be very vital and dynamic in compo- sition. In a moment the flat desert scene becomes alive with interest. The beautiful sce'.nes in Eisenstein's "Storm Over Mexico," were nothing but the cameraman using the camera as the painter-artist uses his brushes and pigments, plus his head in seeing only what is essential in good com- position. How is this done? Instead of shooting the desert as so much open country with small vegetation, take some cactus and place it in the foreground, and frame your shot so that it takes in everything but the props that hold them in position. You have added the note of interest that makes it good balance, or composition. You can take a small twig or branch and let it fall into the frame line, so that it will lead the eye to the center interest. In action shots it is very important to have lines that will lead into the picture, this can be done by adding some abstract props that never detract but force the eye to follow lines into main action. Upper picture shows marine scene without any- thing in foreground to give perspective. In lower sketch you have the impression of pier. Lower picture shows desert scene, composition is added by using cacti as indicated. If you happen to be at the beach and everything is flat in the foreground, you can build your own pier or have a rack pile fit into the scene by adding a few sticks of wood or some rocks, so that they cut into the frame line and give the appearance of having been there for years. It is good to have food that will attract the gulls that migh be flying overhead, you have added the note of in- terest that makes good pictures. Always remember that adding something to the com- position will lend interest to what a moment ago seemed static. It is well to remember that the camera lens has no brains, it is up to you to put them there. Also, that the camera is not frozen to any restrictions like the hu- man body, but will see things at more angles than man has ever attempted with his eyes. Don't be afraid to go to the top of a building, or to shoot thru some high win- dow. You can climb out on a strong limb and shoot the scene, or get down on the ground and shoot up to the scene, that will add interest. Take some small props and place them in your fore- ground, personal things that will build up the scene. If you were shooting your garden with the flowers and bushes showing along the path don't be afraid to put a watering pot, and some odd flowerpots strewn about. This will show that some living person had really planted your garden, and it adds that abstract note of human interest. When shooting the children at play don't be afraid to scatter some toys on the ground, they do throw things about, and, as you pan into them a Teddybear lying over on its side with a leg up in the air adds humor to the scene. A broken doll face down adds pathos, blocks that might have been a castle are swept aside, throw a block and follow shot, you have action. When shooting interior scenes it is good to look care- fully at each item that comes into the scene, then^ place a bit of paper at each object and you will soon see that a lot of things can be removed without hurting the composi- tion. This method is used by the best interior decorators (Continued on Page 406)